Mike Patton 2017 Project Update

One of the great things about Mike Patton performing at MoFo is that a number of other Patton Fanatics were able to meet up with him and have a chat.

As part of one of these conversations, DJ Wronghead spoke with Mike about future work or releases.

Here’s what he had to say:

Asked about new Fantômas and he said it’s unlikely, Duane is writing new Tomahawk and Faith No More he sis he didn’t know at this stage but it’s possible because never though they’d do the last album but it happened!

So there you have it, straight from the horse’s mouth (I’m not sure how well this would stand up in a court of law, and frankly I don’t care), it’s unlikely there’ll be new Fantômas, most likely for there to be new Tomahawk, and who knows what’s going to happen with Faith No More in 2017 – it seems like anything is possible on that front.

Review of Tētēma Performance

The guardian reviewed the weekend’s tētēma performance. It was titled ‘Tētēma review – world premiere at Mofo provokes and delights’, giving the show a 4 out of 5 stars.

Here are a few excerpts of what they had to say:

One could argue that Mofo’s 2017 headliners at the Mona festival of music and art are boring choices because they’re sacred cows of 90s alternative metal. The 90s ended nearly two decades ago: it’s devastating but true. Both Tool’s Maynard James Keenan and Faith No More’s Mike Patton have fanbases so dedicated they’ll follow any artistic whim these performers have, no matter how remote the destination. Surely they should go sell out some other festival instead?

Except this weekend, neither performed as part of the groups that brought them fame, and in the case of Patton, he was not even the star attraction. That status was reserved for Anthony Pateras, a Melbourne-born electro-acoustic artist responsible for the direction of Tētēma. The group released its 2014 debut album, Geocidal, and was in Hobart for its world premiere performance. Pateras was the reason Mike Patton was here, and he was a good reason.

Tētēma makes complicated and prickly music, employing tape loops, electric violin, analogue synths and more, but it never feels far enough removed from experimental rock to provoke this line of questioning in a live environment. Perhaps that’s due to Guthrie: when the group bared its teeth – as it often does – his percussion sliced through with such great force that it felt like a rock show, even though, strictly, it wasn’t.

Dissociation #18 in Vulture Hound’s Top 30 Albums of 2016 [Rel-Act]

Vulture Hound has included Dissociation in their list of Top 30 Albums of 2016.

The Dillinger Escape Plan – Dissociation

Here’s what they had to say about Dissociation:

Did Ben Weinman catch his guitar cheating on him with his wife? Because that dude is pounding it like Jesus should have pounded Judas. It’s an album that features some of Dillinger’s most melodic moments yet. But melodic feels far too mundane of an adjective to describe Disassociation. For example, ‘Fugue’ sounds like an 8-Bit soundtrack having a mid-life crisis.